DVD review: Clone HunterOften, sci-fi and low budget indie productions go together about as well as chocolate and onions.... + READ REVIEW
What to make of the ending to Inception?So far, my favorite film this year is Christopher Nolan’s Inception. Not only does it deliver all... + READ REVIEW
DVD Review: The White RibbonThe White Ribbon is a drama starring Christian Freidl, Ulrich Turkl and Burghart Klaussner.... + READ REVIEW
In deciding to tackle my first attempt at a review of a film still in the theatre, I chose one that is over the top, violent, in many ways ridiculous, yet still easily one of the best films of the year: Quentin Tarantino’sInglorious Basterds.
For readers already aware of the film, I’ll go ahead and address the elephant in the room. Yes, in Tarantino’s satire/homage to World War II action films (in particular, two great ones: Where Eagles Dare and The Dirty Dozen), he does change the ending to the war. No, it did not happen this way, but so what? In this world, the one created by the film, it could happen. Tarantino’s film can get away with this, for it never once betrays its main purpose, which is to tell an entertaining story. It is not a “message” film, like Judgment at Nuremburg or the oh so serious Mississippi Burning (not to get too off track, but precisely because Mississippi Burning always intended to be a message film, its proven altering of facts surrounding its story, as well as its cartoonish villains, makes it much more offensive than Basterds).
In my recent review of Milk, I admitted that biographies are not my favorite film genre, primarily for two reasons: 1) the story is already written, which can often hamper the artist in telling the story and 2) there is often a tendency for film biographies to fall too much in love with its subject, which can lead the film down a path of worship and away from perhaps telling the true story and/or from presenting the real subject’s flaws as well as his or her triumphs (which I felt was the case with Milk).
In making my Top 10, I noticed that my list was eclectic, that it included low level gangsters, failed musicians and file clerks alongside queens, emperors and generals. It does not focus solely on those who reached noble heights, but focuses as well on some people of dubious character who did not always succeed. However, I feel that each of these films is honest toward their subjects, showing their flaws as well as their triumphs. Furthermore, each works as a film, telling their stories in innovative, original and striking ways.
IFC recently had the opportunity to chat with Elisabeth Moss, actress and mild-mannered Peggy the Ad Exec on AMC's Mad Men. She tells us about her experience on that plus we talk at length about her starring role in the new drama, El Camino, which is being released on DVD next week.
Like many of my fellow kids of the 80s, I was very sad to learn of the passing of John Hughes. He is best remembered now as the king of the “teen angst” comedies of the 1980s and many scenes from his films seemed to define my generation much like Woodstock did the 60s or the birth of rock did the 50s. His best work stood out because he seemed to not only genuinely like teenagers, but also respect and understand them as well. Current filmmakers like Judd Apatow and Kevin Smith recently noted how influential Hughes was on their careers (with Smith adding that much of his work is basically a “raunchy version of a John Hughes film.”)
However, while making a tribute “Top 5” list to Hughes, I somewhat surprised myself, as I discovered that 3 of my 5 favorite films by him were not his “teen” films, but ones that primarily centered around adults and families (particularly the father figure) and featured hilarious, memorable work by Steve Martin, Chevy Chase and John Candy. Others may wonder why other favorites by him, such as The Breakfast Club, Some Kind of Wonderful, Pretty in Pink, or Home Alone are not on my list, but again, all lists are subjective. A weekend spent watching his best work is not a bad way to spend the weekend at all. RIP Mr. Hughes.
“End of the Line” is a horror film starring Ilona Elkin, Nicholas Wright and Joan McBride. Directed by Maurice Deveraux.
To me, there are few concepts as frightening as Armageddon, yet it remains a somewhat untapped source for horror, as there have been few films that have addressed the theme of Armageddon effectively (the most notable exceptions are George Romero’s horror masterpieces “Night of the Living Dead” and “Dawn of the Dead”). “End of the Line” tries to address the theme at first and gets off to a strong start, yet in the end settles into a routine survival horror plot, rather than taking a chance and exploring the theme of Armageddon and religious zealotry in a unique and more creative way.
Though not a requirement, many of the great films end with an arresting closing shot, a final, often haunting image that can either tells us everything we need to know about the story, or in some cases, opens up further questions. Furthermore, a brilliant closing shot can cement the stature of a classic, or move a very good film to greatness.
To follow are the Top 10 greatest closing shots in movie history, IMHO. As always, feel free to offer me feedback.
The resurgence of rental revenue as a major component to a dvd's bottom line is a great opportunity for independent filmmakers. The demands of rental have always been much more "mainstream" than those of the fast disappearing sell thru market. The most profitable titles have always been genre based; Thrillers, Heist Films, Action, etc. In short,good old American "B" movies. Back in the 1980's and early 1990's, an entire industry grew up around the production of these films. They were most easily identified as straight to video/foreign sales vehicles. Many were dreadful, but quite a few were extremely well crafted, tightly written productions done for very little money. A few became classics;BLOOD SIMPLE, KING OF NEW YORK, MAD MAX, while others remain guilty pleasures: POLYESTER, FRIDAY THE 13th, DEATH RACE 2000.
The advent of dvd and the subsequent explosion of sell thru revenue that came with it made it easier for smaller, more introspective films to make money too. This was a great thing for American independents, but it also created a safety net of sorts for a lot of mediocre, navel gazing drama.
Now with most of the retail that supported these films bankrupt or barely hanging on, they are finding it pretty much impossible to recoup their investments. Even near perfect dramas with recognizable actors are having a hard time in the current climate.
But a good thriller with a crazed neighbor? Well, rental buyers are all ears for that. There is a grand tradition of American "B" movies that stretches back to the 1950s. These films took basic genre formulas and made them new, investing them with insight, personality and energy. A great script was an absolute necessity. So was a well directed cast of believable actors. Production values were seldom more than acceptable. And yet these films still are shown and studied today.
With production being cut back across the board, there is clearly a decent market for well done genre. It's not easy to craft this kind of film but independents used to do it all the time. Can we adjust once again and reclaim the tradition of engaging storytelling that once made American films the envy of the world? The jury is still out on this point but one thing is clear; Navel gazers need not apply.
Chris Denham is one of Hollywood's bright young stars, steadily building a career with memorable roles in some of the most respected studio films of the past few years; Charlie Wilson's War and the soon to be released Shutter Island, directed by Martin Scorsese, foremost among them. Denham moves easily between large studio productions, live theatre and independent productions like El Camino, where he gives an unforgettable performance as the conflicted womanizer, Gray. We caught up with Denham while he was on location.
IFC: You've been a working actor for a while now. Why do a "small" indie production like this?
Chris Denham: When it comes to choosing projects, I always choose story over budget.
Having worked on studio films affords me the luxury of working on independent films. But, whether or not the budget is $200,000 or $200 million, the story is the only essential. Maybe that sounds banal, but it is so easy to forget. It doesn't matter if they offer me forty million dollars, I don't want to be in a movie about exploding robots.
DAYS OF VENGENCE Label: Lifesize Entertainment
Genre: DRAMA CLICK TO VIEW TRAILER Jake Reid travels to smalltown Covelo, CA to dig up the past and the missing loot from the botched robbery that killed his outlaw father years earlier. But Covelo proves to be a town of many dark secrets, and a strong dislike for nosey outsiders.
CLONE HUNTER Label: Lifesize Entertainment
Genre: SCIFI CLICK TO VIEW TRAILER In a distant future full of intelligent machines, the wealthy and powerful live their lives to the fullest, without limits, without restraint, and seemingly without end. But what happens if the artificial intelligence that makes this “perfect” world possible wants to share in it?
SUBSCRIBE to the INDIE FILM KIOSK MINI CATALOG for valuable news, coupons and discounts! Get the pdf catalog downloaded to your computer and into your Itunes or other xml/rss feed reader:
DVD review: Clone HunterOften, sci-fi and low budget indie productions go together about as well as chocolate and onions....
What to make of the ending to Inception?So far, my favorite film this year is Christopher Nolan’s Inception. Not only does it deliver all...
DVD Review: The White RibbonThe White Ribbon is a drama starring Christian Freidl, Ulrich Turkl and Burghart Klaussner....
IFC recently had the opportunity to chat with 
Like many of my fellow kids of the 80s, I was very sad to learn of the passing of John Hughes. He is best remembered now as the king of the “teen angst” comedies of the 1980s and many scenes from his films seemed to define my generation much like Woodstock did the 60s or the birth of rock did the 50s. His best work stood out because he seemed to not only genuinely like teenagers, but also respect and understand them as well. Current filmmakers like Judd Apatow and Kevin Smith recently noted how influential Hughes was on their careers (with Smith adding that much of his work is basically a “raunchy version of a John Hughes film.”) 
“End of the Line” is a horror film starring Ilona Elkin, Nicholas Wright and Joan McBride. Directed by Maurice Deveraux.
“Second Coming” is a thriller starring Juliet Reeves, Greg Thompson, Melissa Gruver and Annie Meleski. Directed by Jose Cassella. 
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Black Swan - Trailer